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Using a removal tool, a sort of awl, the painting and the intonachino attached to the cloth and glue covering are then detached, from the bottom up. The back of the fresco is thinned to remove excess lime and reconstructed with a permanent backing made from two thin cotton cloths, called velatini, and a heavier cloth with a layer of glue.
The wallpaper adhesive is applied to the wallpaper to let the moisture of the adhesive soak into and penetrate the paper. The paper will thus expand before hanging rather than on the wall, which would cause vertical bubbles in each panel of wallpaper as the adhesive dried from the edges in. [3] When using a type of wallpaper paper that does not ...
The ground of the painting was then removed by solvents or scraping, until nothing remained but a thin skin of colour, pasted over with paper and held together by the muslin. A prepared canvas was then attached to the back of the paint layer, using the same method as was used for lining pictures. When the glue had dried, the paper and muslin ...
High Humidity reduces mechanical damage such as brittle paint but raises the risks of biological organisms, e.g. white efflorescence and green-to-black stains on a panel painting. [12] High Humidity also raises the risks of curving or warping of the wood over time, forcing the paint to flake off.
The steam passes through the paper, saturates the backing paper and partially dissolves the desiccated wallpaper paste. This then allows the wallpaper to be pulled from, or scraped off the wall. [1] The wallpaper steamer was invented by Peter Ravenscroft Wilkins from Blackwell, Worcestershire, England. Its European patent was filed 19 November ...
Whitewash, calcimine, kalsomine, calsomine, asbestis or lime paint is a type of paint made from slaked lime (calcium hydroxide, Ca(OH) 2) or chalk (calcium carbonate, CaCO 3), sometimes known as "whiting". Various other additives are sometimes used.
Another method used in place of lining is loose-lining. Loose-lining is accomplished by stretching a painted image over polyester sailcloth without adhesive between the fabrics. [2] This technique helps protect the painting from atmospheric pollution, but does not flatten or consolidate the paint surface. [2]
A century later, apprised of paintings of Atalanta and Helen without drapery and "enflamed with lust", Caligula attempted to carry them off, but was prevented by the makeup of the plaster. [4] Maiuri cites examples of wall paintings in wooden frames excavated at Pompeii, a precursor to what was to follow in the 18th and 19th centuries.
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